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    Greek Sculpture: A Collection of 16 Pictures of Greek Marbles (Illustrated)
    Greek Sculpture: A Collection of 16 Pictures of Greek Marbles (Illustrated)
    Greek Sculpture: A Collection of 16 Pictures of Greek Marbles (Illustrated)
    Ebook79 pages1 hour

    Greek Sculpture: A Collection of 16 Pictures of Greek Marbles (Illustrated)

    By Estelle M. Hurll

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    About this ebook

    A collection of 16 pictures of Greek marbles (black and white), with introduction and interpretation by Estelle Hurll.According to Wikipedia: "Estelle May Hurll (1863–1924), a student of aesthetics, wrote a series of popular aesthetic analyses of art in the early twentieth century.Hurll was born 25 July 1863 in New Bedford, Massachusetts, daughter of Charles W. and Sarah Hurll. She attended Wellesley College, graduating in 1882. From 1884 to 1891 she taught ethics at Wellesley. Hurll received her A.M. from Wellesley in 1892. In earning her degree, Hurll wrote Wellesley's first master's thesis in philosophy under Mary Whiton Calkins; her thesis was titled "The Fundamental Reality of the Aesthetic." After earning her degree, Hurll engaged in a short career writing introductions and interpretations of art, but these activities ceased before she married John Chambers Hurll on 29 June 1908."

    LanguageEnglish
    PublisherSeltzer Books
    Release dateMar 1, 2018
    ISBN9781455431236
    Greek Sculpture: A Collection of 16 Pictures of Greek Marbles (Illustrated)

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      Book preview

      Greek Sculpture - Estelle M. Hurll

      PERICLES -- British Museum, London -- John Andrew & Son, Sc.

      GREEK SCULPTURE:  A COLLECTION OF SIXTEEN PICTURES OF GREEK MARBLES WITH INTRODUCTION AND INTERPRETATION BY ESTELLE M. HURLL

      published by Samizdat Express, Orange, CT, USA

      established in 1974, offering over 14,000 books

      Art books by Estelle Hurll:

      Michelangelo

      Child-Life in Art

      Correggio

      Greek Sculpture

      Landseer

      The Madonna

      Millet

      Raphael

      Rembrandt

      Reynolds

      Titian

      Tuscan Sculpture

      Van Dyke

      feedback welcome: info@samizdat.com

      visit us at samizdat.com

      The Riverside Art Series

      Riverside Press, BOSTON AND NEW YORK

       HOUGHTON MIFFLIN COMPANY

       The Riverside Press Cambridge

       COPYRIGHT 1901, BY HOUGHTON, MIFFLIN & CO.

       ALL RIGHTS RESERVED

      PREFACE

      INTRODUCTION

      I  BUST OF ZEUS OTRICOLI

      II  ATHENA GIUSTINIANA (MINERVA MEDICA)

      III  HORSEMEN FROM THE PARTHENON FRIEZE

      IV BUST OF HERA (JUNO)

      V THE APOXYOMENOS

      VI  HEAD OF THE APOLLO BELVEDERE

      VII DEMETER (CERES)

      VIII  THE FAUN OF PRAXITELES

      IX  SOPHOCLES

      X  ARES SEATED

      XI  HEAD OF THE OLYMPIAN HERMES

      XII  THE DISCOBOLUS (THE DISK-THROWER)

      XIII THE APHRODITE OF MELOS (VENUS OF MILO)

      XIV ORPHEUS AND EURYDICE

      XV  NIKE (THE WINGED VICTORY)

      XVI PERICLES

      PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

      PREFACE

      Within the limits of this small collection of pictures an attempt is made to bring together as great a variety of subjects as possible. Portraiture is illustrated in the statue of Sophocles and the bust of Pericles, genre studies in the Apoxyomenos and Discobolus, bas-relief work in the panel from the Parthenon frieze and the Orpheus and Eurydice, and ideal heads and statues in the representations of the divinities. Both the Greek treatment of the nude and the Greek management of drapery have due attention.

      As classic literature is the best interpreter of Greek sculpture, the text draws freely from such original sources as the Iliad and the Odyssey, the Homeric hymns, and Ovid's Metamorphoses.

      ESTELLE M. HURLL.

       New Bedford, Mass.

       January, 1901.

      INTRODUCTION

      I. ON SOME CHARACTERISTICS OF GREEK SCULPTURE.

      The history of Greek sculpture covers a period of some eight or nine hundred years, and falls into five divisions. [1] The first is the period of development, extending from 600 to 480 B. C. The second is the period of greatest achievement, under Phidias and his followers, in the Age of Pericles, 480-430 B. C. The third is the period of Praxiteles and Scopas, in the fourth century. The fourth is the period of decline, characterized as the Hellenistic Age, and included between the years 320 and 100 B. C. The fifth is the Græco-Roman period, which includes the work produced to meet the demand of the Roman market for Greek sculpture, and which extends to 300 A. D.

       [1] See Gardner's Handbook of Greek Sculpture, page 42.

      Modern criticism differentiates sharply the characteristics of the several periods and even of the individual artists, but such subtleties are beyond the grasp of the unlearned. The majority of people continue to regard Greek sculpture in its entirety, as if it were the homogeneous product of a single age. To the popular imagination it is as if some gigantic machine turned out the Apollo Belvedere, the Venus of Milo, the Elgin Marbles, and all the rest, in a single day. Nor is it long ago since even eminent writers had but vague ideas as to the distinctive periods of these very works. Certain it is that all works of Greek sculpture have a particular character which marks them as such. Authorities have taught us to distinguish some few of their leading characteristics.

      The most striking characteristic of Greek art is perhaps its closeness to nature. The sculptor showed an intimate knowledge of the human form, acquired by constant observation of the splendid specimens of manhood produced in the palæstra. It is because the artist clung to nature as a kind mother, says Waldstein, that the influence of his work persists through the ages.

      Again, Greek art is distinctly an art of generalization, dealing with types rather than with individuals. This characteristic is of varying degrees in different periods and with different sculptors. It is seen in its perfection in the Elgin Marbles, in exaggeration in the Apollo Belvedere, and at the minimum in the work of Praxiteles. Yet it is everywhere sufficiently marked to be indissolubly connected with Greek sculpture.

      The quality of repose, so constantly associated with Greek sculpture, is another characteristic which varies with the period and the individual sculptor. Between the calm dignity of the portrait statue of Sophocles and the intense muscular concentration of Myron's Discobolus, a long range of degrees may be included. Yet on the whole, repose is an essential characteristic of the best Greek sculpture, provided we do not let our notion of repose exclude the spirited element. Fine as is the effect of repose in the Parthenon frieze, the composition is likewise full of spirit and life.

      A distinguishing characteristic of the best Greek sculpture is its simplicity. Compared with the Gothic sculptors, the Greeks appear to us, in Ruskin's phrase, as the

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